47 Rojulu

47 Rojulu poster

K Balachander’s 1981 film 47 Rojulu is a study of domestic abuse, and I found it uncomfortable to watch. It’s melodramatic yet has a ring of realism, largely due to Jayaprada’s characterisation of Vaishali, and the often quite graphic violence. Chiranjeevi stars opposite in a negative role, and he doesn’t hold anything back.

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The story is told in flashback, through the device of a visiting actress (Saritha) who comes to talk to Vaishali as preparation for a film. I have only seen this in an unsubtitled print, and it is a dialogue heavy film, so at first I was a little confused by the flashback structure. However, the emotional tone and pitch of the drama comes through loud and clear and I had no trouble in following the main story.

Vaishali (Jayaprada) and her brother are coming home from seeing Shankarabharanam (I think) at the cinema when she sees a wedding taking place. Kumar (Chiranjeevi) is discussing marriage with his parents and next thing you know, he is getting married to Vaishali. All looks fine until after the ceremony when he gets the wedding photographer to give him the film, and exposes all the rolls. Why wouldn’t he want pictures of his wedding day? He seems quite keen on the wedding night and wasn’t forced into the marriage (apart from some gentle parental coercion). Also a little odd, he tests to see if she can speak English. Soon after the wedding they move to France.

At first things seem fine. Kumar shows off the house in the countryside outside Paris, and introduces his naïve bride to heating, sliding doors, supermarkets and televised sports. They live in a cosy modern flat on the ground floor, and a woman called Lucy lives upstairs.

Then one day Kumar is chatting to someone in French and introduces Vaishali as his sister. Hmmmm. Of course she has no idea as she speaks only Telugu. It is clearly a lie when he says Lucy (Anne Patricia) is just a friend. There is an awkward dinner, with Lucy completely unaware Vaishali is married to Kumar and with Vaishali confused by who this woman is and why she acts so familiar with her husband. Lucy seems happily oblivious although she does realise Vaishali isn’t comfortable around her. And then one day Vaishali, overwhelmed by her unease and distrust, searches Lucy’s apartment and finds a wedding photo – of Kumar and Lucy.

If Vaishali asks any questions about their domestic situation, Kumar puts her down so she will feel ignorant and shut up. He cuts her off from any other Indian people in the area, and he is her only source of information. She loses her confidence, she feels stupid and disgraced, and she has no one other than Kumar. When she does a runner to Paris by herself, Kumar drags her home and burns her hand on a hotplate as punishment. It’s quite sad that Lucy tries to comfort her ill ‘sister-in-law’ when she is unwittingly part of the problem. Jayaprada does a great job of showing the changing emotions and moods of the abused wife. She really likes Kumar and her marriage when he is in a good mood, and Vaishali seems to excuse his early outbursts by blaming herself or thinks it is just because he is tired or stressed. Her growing realisation that she is in trouble and that her marriage is a sham is sad to watch.

Kumar does spend quite a lot of time with Vaishali (he doesn’t have a job as such) and seems affectionate and caring. They do the tourist thing around Paris, enjoying the sights and making fun of some fashionable locals. How he thinks he can keep hiding the truth is beyond me.  Kumar justifies and rationalises – he sees no reason why he can’t have it all, and no compunction about hurting either of the women.  He has an impulsive warmth which can be appealing, but that can swiftly turn to rage and brutality. His behaviour escalates from verbal nagging and bullying to physically attacking Vaishali.

In one sickening scene of what is essentially marital rape, he withholds her letter from home to coerce her into having sex. And when Vaishali falls pregnant he starts to really lose the plot as he sees his perfect life crumble. He seems to insist on a termination and certainly there is no baby later in the film, although how and if it was her choice isn’t revealed as far as I can tell. Chiranjeevi gives a strong and complex characterisation of a loathsome man. I certainly didn’t find the Chiru Mega appeal made the situation any more palatable, but his layered performance allowed me to empathise more with Vaishali’s disillusionment as she came to terms with the deception.

Some isolated and precarious locations seem intended to convey fear or dread, and I was certainly yelling at Vaishali to be careful, especially in one rooftop scene. Kumar abandons her in a forest at one stage, and tears the mangalsutra from her neck before leaving her in a park on another occasion. He uses her isolation and the unfamiliar surroundings to reinforce her caged existence. He also takes her to see a show of an ‘adult’ nature (to the Pink Panther theme music – how saucy) to prove his point that love and sex were different in France, but she is utterly repulsed by the spectacle. The cosy apartment that she loved on first sight becomes a prison.

The drama is almost claustrophobic as it all takes place in Vaishali and Kumar’s tiny world, so the support cast is small. Sarath Babu arrives late in the piece as Telugu speaking Dr Shankar, who becomes aware of Vaishali’s predicament. Ramaprabha is a petty thief who is hated by the wardrobe department and who gets Shankar involved in the situation. The plot manipulations required to get them into position don’t really stack up, but I was relieved to see Sarath Babu regardless. There is something very salt of the earth and reliable about him in these secondary good dude roles. And I was happy  that once Ramaprabha’s character understood Vaishali’s situation, she reached out to help. Anne Patricia is not the best actress ever, but I felt sympathy for Lucy and was glad to see how her storyline played out.

Some things didn’t quite fit with the realism of the initial set up. Who travels with an electric hotplate or element just on the chance they will want to burn their spare wife? The songs added nothing to the narrative development so I would have left them out, or kept them as background. And the final chase was dramatic but didn’t make much sense, logistically speaking.

47-Rojulu-not interested

Lest this all sound too grim, back in the present day Saritha asks about the doctor, sparking an outburst from Vaishali. It seems she feels marriage is not essential for a good life.  Hear, hear!

This is a difficult film for me to watch as I find the subject repugnant and to be honest, I prefer a Chiru I can cheer for. I do appreciate the nuanced and sympathetic but not sentimental portrayal of women and relationships. 4 stars!

Baghdad Thirudan (1960)

Baghdad_Thirudan

The opening credits play over an orchestral overture, jaunty and melodic, setting the scene for an adventure in the magical land of exotic fairytale cliche. Baghdad Thirudan is in the style of a Hollywood swashbuckler, and T.P Sundaram directs this rollicking yarn written by A.S. Muthu.

The film is on Youtube in pretty poor quality and without subtitles. There is no shortage of plot, but once you identify the Goodies and the Baddies (not hard) the story is easy enough to follow and bounds from incident to episode with great spirit. There is the kingdom that must be restored to rights, justice for the oppressed masses (maybe), a love triangle of sorts, DIY special effects and stunts, abundant songs and lots of excellent outfits.

Baghdad-Thirudan-Helen probably

The action opens with HELEN! Or someone who looks a lot like HELEN! She dances and a gaudily dressed man (T.S. Balaiah) can barely keep his hands off her. He and his wife scheme to depose the king and queen and take over the kingdom. He really has no impulse control.

Baghdad-Thirudan-S N Lakshmi

The king and queen are captured and the maid taking their baby son to safety has to get past…a leopard! She actually fights and kills a leopard barehanded. Without mussing up her outfit. But that’s not all. She duels with soldiers with the baby still tucked under her arm – finally being stabbed in the back and dropping the baby from a tower into the waiting arms of a fellow retainer who completed the rescue and drew the pursuit away. Awesome stuff. I read that actress S.N. Lakshmi was afraid of the leopard (and of cats in general) but still had to get in there without the luxury of a stunt double.  The baby (who never stops screaming, making stealth next to impossible) is eventually discovered and adopted by a group of people who are either forest dwelling thieves or a socialist dairy farming collective.

Baghdad-Thirudan-birthmark

They thoughtfully provide a clear view of his significant birthmark. Meanwhile baddies, assisted by their mole in the palace (S.A. Asokan) obtain an imposter baby to raise as the prince and legitimise their takeover as regents who will never retire.

The baby grows up to become Ali (MGR), a Robin Hood figure of laconic charm. He crosses paths with Zarina who is also a thief. Hijinks ensue as he tries to steal back his takings and Zarina matches him move for move in a game of wits. While trying to evade Ali’s pursuit she is mistaken for a dancing girl by the Pretend Prince, leading to a flimsy excuse for Zarina to dance for her life.  Which is absolutely excellent since she is played by Vyjayanthimala.  Not a purist classical number by any stretch of the imagination – but Vyjayanthimala dances with her customary precision and strength. MGR confines himself to comedic fumbling, posing as her backing musician along with his sidekick (T.R Ramachandran).

Ali sets up an accident so he can rescue the Pretend Princess (M.N Rajan). She is quite full of herself and the wrong kind of sparks fly.  But when he duels his way to freedom she is so impressed by his swordsmanship that the other kinds of sparks are evident, at least on her side.

Zarina seems to be living with a thief master type who demands she hand over money each day or else. He sells her at auction and Ali (in a bad disguise) buys her.  She doesn’t see through the face putty and tries to escape but is foiled – luckily his moustache falls off during a song and she realises she is not unhappy at all. However there are other baddies at large and one day, she is taken prisoner and used as a target for axe throwing practice. Zarina often gets herself out of trouble, but when she can’t she is fortunate to have the ever vigilant Ali.

But Ali is still wooing Pretend Princess, a woman of nasty temperament and a love of hats (even her maid is suitably bedizened). She shows him a secret treasure box hidden behind a door of spears and concealed in a fireplace. With all that security it must be something good! He ties her up – maybe just for fun – but then seems to tell her who he really is and gags her as she screams for guards and he escapes. Theirs is a crazy mixed up kind of relationship thing. The box contained the antidote for poison that had been spread into the water supply. So rather than being a duplicitous flirt it seems Ali was taking one for the team. He saves the people! And marries Zarina! So much to be happy about, and yet so much time left for things to go wrong.

I liked Ali and Zarina. They had a nice dynamic in their relationship, and while Ali was clearly The Hero who would save the day, Zarina wasn’t dumbed down. She wasn’t very skilled with a sword, but she would still have a go at hacking her way through guards and other obstacles. It was nice to see the couple so playful and happy to be together, and the actors’ rapport came through in their less fraught scenes. I think the secret of their happiness might just have been that MGR refrains from much dancing and wisely lets Vyjayanthimala do the choreographic  heavy lifting. MGR has a nonchalance that makes Ali likeable and not too overbearing. He does leap onto the soapbox and speechify a bit, which suits Ali’s character as the man of the people, but he isn’t too pompous. Vyjayanthimala gives Zarina feisty energy with a resilient core, a good match for MGR.

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In the latter part of the film he changes his look and gives up the fez and harem pants in favour of jolly little Elizabethan style breeches so that was amusing.

The Pretend Princess allows herself to be kidnapped with an eye to getting her claws on Zarina. Zarina ends up in the dungeon but Ali gets wind of her situation. There is much plotting, and a wonderful Batman-esque wall ‘climb’ to rescue Zarina that has MGR using all his overacting skills.

Not to be out-emoted,  Zarina paints his portrait in blood as she sings a dirge. And the baddies celebrate I’m not sure what exactly with a big tribal production number featuring Gopi Krishna.

The final action sequence takes place in almost every room of the palace.

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There is an excellent pointless clockwork contraption that can have no function other than being a Masala Death Trap.

Baghdad-Thirudan-Princess and Zarina

The Pretend Princess is delighted to find out that Ali is the real prince, and fancies she is in with a chance at keeping her tiara and getting her man. Will he forget Zarina? As if!

See this for the vintage charm, the ripping story that requires little analysis, and the pleasure of seeing MGR and Vyjayanthimala take on all comers and emerge victorious. 3 1/2 stars!

Baghdad-Thirudan-the end

Govindudu Andarivadele

Govindudu Andarivadele

Soaring melodrama, fantastically colourful sets and Prakash Raj are the stand-outs from GAV. Add in Charan, who has definitely improved on his emoting, and you have the bones of Krishna Vamshi’s family drama that mostly delivers what it promises. There are plenty of emotional scenes as Abhiram (Charan) attempts to reunite his family in England with the rest of his estranged relations in India, and of course there’s some local trouble and a romance thrown in for good measure. While most of the film seemed to live up to Krishna Vamshi’s preoccupation with family values, there are a few scenes here that seem to be a hold-over from a less pc era, and stand out as glaringly sexist and just plain wrong. However the rest of the film is entertaining enough despite a storyline so overused that the lack of subtitles was really never an issue!

The story opens with a déjà vu from K3G as Abhiram demonstrates just how well he can play rugby when the opposing team fail to follow the rules of the game and actually attempt to tackle. Real rugby players end up covered in mud and crushed under a few tons of Welsh full-back in my experience, but apparently not in Vamshi’s world. Abhiram lives in a very nice pad in London with his father Chandrasekhar (Rehman) and his little sister whose name I didn’t catch. Unfortunately Chandrasekhar misses out on an appointment to be Dean of Medicine at a London University and interprets this as karma due to an old rift from his own father.  No academic politics in Vamshi’s world either then, I presume!

Overnight Abhiram decides that he will be the one to make all right for his father, and heads off to India to do what he can to bring the families back together. Sadly though, he doesn’t take time to remove his rather odd pony-tail which I can only assume must have been an attempt to look ultra-hip and cool – London-ishtyle. Not my favourite look for Charan, but it did grow on me as the movie went on.

GAV - Charan

Things definitely look up once Abhiram makes it to India, does all the usual touristy things, and then heads off to his grandfather’s village. Following the standard family reconciliation template, Abhiram makes contact with the rest of his family anonymously by pretending to be a visiting agricultural student who wants to learn from family patriarch Balaraju (Prakash Raj). Balaraju runs his family and the village with a benevolent but very traditional hand while stopping his brother (Kota Srinivasa Rao) from clearing and developing the area. Living in the wonderfully pink and majorly over-decorated mansion is also Chandrasekhar’s wastrel brother Bangari (Srikanth): a man with an unfortunate propensity for mesh singlets and garish shirts. Oh, and he drinks, gambles and tries to kidnap and rape his potential bride, Chitra (Kamalinee Mukherjee). This is one of those scenes that really should never have made it in to a film in this day and age, and it does feel completely anachronistic with the rest of the story. Equally disturbing is Abhiram’s use of some photographs he has taken of his cousin Satya (Kajal Agarwal) dancing in Western clothes as a way to blackmail her. This is straight out bullying and sexual abuse, and I find it hard to believe this got past the censors in an otherwise ‘family-friendly’ film. Thankfully Satya does manage to effectively deal with Abhiram’s harassment, but it makes their subsequent romance initially less believable and Abhiram appear as a bit of a prat.

The rest of the film is much better, and that’s mainly due to excellent performances from Prakash Raj and Charan. Prakash Raj is perfect as Balaraju and he knows exactly how to play the strict but compassionate head of a large family. He never puts a foot wrong and wrings every possible drop of emotion out of his time on screen. He even manages to make stick fighting and motorbike riding emotional events, as he unknowingly bonds with his grandson. Jayasudha is just as good as Abhiram’s grandmother, and again she manages to take her overly emotional scenes and tame them down to something more realistic and believable.

Charan gets a chance to show that he can play more than just an action hero and he definitely rises to the challenge. His Abhiram has more shading than other characters I’ve seen Charan play, and he conveys plenty of emotion and feeling in his speeches, even though I couldn’t understand a word! Despite the initially rocky start, there is plenty of chemistry and some major sparkage in the romance between Abhiram and Satya. Charan is one of the few actors that interacts well with Kajal in this respect and their romance really does light up the screen. Charan does manage to stick close to his real love though, as seen in this song mainly set in and around Petra. I wonder if it’s written into every contract that he must get at least one scene with horses? Kajal gets rather short-changed in the choreography here, although Charan doesn’t actually get to dance much either and sadly most of the songs have more emoting than dancing.

The rest of the cast are all capable and fit well into their roles. Rao Ramesh, Posani Krishna Murali and Adarsh Balakrishna are part of Kota Srinivasa Rao’s opposing family but never feel terribly menacing. Adarsh’s character is mainly just very shouty and aggressive, and the various fight scenes, which appear to have been structured around rugby tactics, aren’t up to Peter Hein’s usual high standard. The film looks gorgeous though. The pink palace is amazing – Satya has a stunning peacock painting on her wall, and most of the other rooms are similarly adorned with fantastical artwork and gorgeous furniture. I would live there!

GAV - the pink palace

The emotional quotient does head into overload at times and the ending is particularly excessive, but that doesn’t really seem to matter since the whole point of the story is overblown sentiment. As a straightforward family drama GAV works well enough despite the cliché-ridden storyline and the strong performances help push it over the line. Well worth watching for Prakash Raj and Charan, particularly when you can marvel at the wonders of the pink palace as a bonus.

Anji

Anji-title

Anji is an unashamed tilt at a commercial blockbuster with an obviously huge budget and everything including the kitchen sink by way of recommended masala ingredients. Kodi Ramakrishna directed Devi, Ammoru, and the more recent Arundhati, all of which had big special effects and equally big performances. I think those films are more effective than Anji overall as the stories were less obviously ‘inspired’ by Hollywood. Also I suspect that casting such a big name hero skewed the story towards him, leaving mostly comic relief and buffoonery for the other performers. But the visuals are pretty good and Chiranjeevi brings his own style and verve to the adventure.

Back in 1932 a nasty man with blue contacts and huge teeth (Bhupinder Singh) tried to steal a sacred relic, the Aatmalingam. The Aatmalingam catches the waters of the Akasa Ganga every 72 years, and drinking that water grants immortality. Luckily for us and not so luckily for him, he triggers the defences around the Aatmalingam. Bhatia barely escapes, losing an arm to a sentient flying sword.

Anji-fingernails

I must just question the wisdom of sending a man with those fingernails to do a delicate job of thievery.

In 2004, when the heavenly miracle is due to occur again, Bhatia (now overacted by Tinnu Anand with odd prosthetic earlobes) once again has a crack at gaining supreme power. A diary containing the pertinent lore was sent to Swapna (Namrata Shirodkar), a student in the USA, to keep it safe. She returns to India and thanks to fate and public transport, meets Anji (Chiranjeevi) and is pursued by idiots (MS Narayana and gang). After hiring Anji to escort her to her destination, the two realise they have to protect the Aatmalingam (and all the people) and defeat the bad guy. They join forces in an adventure with epic overtones and rush towards the final confrontation.

There are numerous scenes lifted directly from other films – the Crocodile Dundee knife scene, references to the Indiana Jones series and Romancing The Stone among others – but with a Telugu mass and Megastar spin.

Big special effects are one thing but the actors still have to deliver. Anji rights wrongs, protects the defenceless and keep an eye on the guru (Nagendra Babu in some terrible wrinkle makeup). One thing I consistently enjoy about Chiru’s films is that even in the most familiar material he doesn’t seem to be phoning it in. I liked that Anji was a little bit whiny and ‘why me?’ in some scenes but his morals were sound. Chiru had good rapport with his brother Nagendra Babu and with the other filmi family members. The action scenes (by Peter Hein) are fast and often played for laughs as well as adrenalin, and Chiru highkicks and leaps like there is no tomorrow. Anji is ambushed in the jungle, beaten and pushed over a cliff but Heroes bounce when they hit rock bottom (literally and figuratively it seems). The dances are energetic and lots of fun. Anji is often the object of female fantasy in the songs so I quite enjoyed pondering why someone would imagine that particular outfit or that dance move when their thoughts turned to love (or lust). Chik Buk Pori is beautifully shot and features Chiru and his backing dudes, Ramya Krishnan as a flirty con artist, singing orphans and a random white chick. Who could ask for more?

Namrata Shirodkar is perhaps best known as the woman who persuaded Mahesh Babu he could wear t-shirts, AND wear them one at a time. Oh, and she is a former Miss India. Swapna seems like a smart modern girl while in the US – she flies a plane, drives a fast fancy car – all of which is promising in an adventure. So I was confused when she came to India and walking and talking simultaneously seemed to be rather challenging. Her acting mostly ranges from jiggle and giggle to SCREAM and grimace. And the Telugu dubbing gives her a breathy little girl voice which is just annoying. She doesn’t have great chemistry with Chiru, but romance is a fair way down the ranks of subplots which was refreshing. I was expecting more substance in this role based on Ammoru and Devi which had fierce female leads. Namrata’s performance holds up reasonably well as she wasn’t challenged to deliver much more than be a foil for The Hero. Although Swapna did remember some of her foreign skills and I was pleased to see her steal and hotwire a bus to save the obligatory orphans.

The songs are well integrated into the action so they don’t halt the momentum. I wouldn’t care anyway because Chiru! Dancing! Lawrence is credited as a choreographer and he works so well with Chiranjeevi. Swapna throws some bark on the fire and ends up stoned. He knows what it is but he inhales anyway (eventually, after helpfully explaining what was happening). All of which leads Abbo Nee Amma. Om Shanti Om is stylistically a little weird but Namrata’s outfits add some entertainment value even if her dancing doesn’t. Reema Sen makes an appearance in Mirapakaya Bajji that has excellent use of Chiru.

There are some cool effects but there are also polyester stick on beards and an unconvincing roasted lizard on a stick. And a baby crocodile that squeaks like a rubber mouse. But I was pleased to see that when Anji’s dog attacked to save a family member it was clearly a stuffed toy and not a real dog being shaken around. And the horse stunts were not too scary. Where the adventure intersects more with history and religion, the quality and scale of the effects improves although the gore levels were consistent throughout. The religious elements are woven into the action very well and give the story more substance. In one scene Anji accidentally does the right things in the right order and is protected from the giant snake and flying sword. Because I understood what he should do I found the sequence gripping, where sometimes I wonder ‘who made this nonsensical ritual up?’. Some of the magical effects when the Aatmalingam is discovered are very pretty, and there are some excellent locations and sets. Maybe Kodi Ramakrishna is a thrifty director and spends his budget where it will have the most impact. The final confrontation takes place in the Himalayas and Heaven, under the eye of Shiva. It’s all quite grand and otherworldly.

Anji is entertaining from start to finish. My DVD ends quite abruptly following the showdown between Bhatia and Anji but I am quite happy as Swapna was doing something useful for a change, and I suspect if there is a missing scene it probably has singing orphans. Chiru owns his role and his energy is evident in every scene. If you like fantasy or supernatural adventures or have a soft spot for Indiana Jones and Chiranjeevi then I highly recommend Anji. 4 stars!

Gharana Mogudu (1992)

Gharana Mogudu

Gharana Mogudu is a step back in time to the Nineties, although it seems more like the Eighties considering the costumes and general shenanigans. The songs deliver the costumes and as for general shenanigans, there is Uma Devi (Nagma) – a boss from hell who plots a marriage with her factory’s union leader to get her revenge for his popularity and force him to fall into line.  Naturally since the union leader is Chiranjeevi, Uma Devi’s plans are never going to work out the way she wants, but there is a lot of entertainment in watching her attempts.  Nagma is wonderfully arrogant and egotistic in a role that lets her be as nasty as possible, but still look stunning as she efficiently crushes anyone who dares to oppose her management style.  Chiranjeevi’s Raju is naturally the complete opposite, kind-hearted and generous, but just as stubborn and quite determined to stand up for his rights and those of his fellow workers.  Of course he also dances up a storm and dishooms when and where required making Gharana Mogudu an excellent celebration of all things Megastar and perfect for this year’s Megabirthday celebrations.

Gharana MoguduGharana Mogudu

Before we can get to Uma Devi and her hazardous factory in Hyderabad, Raju is introduced as the dock worker to turn to in a crisis – even if that crisis is getting beaten up at an illegal fight betting ring.  Naturally Raju wins the subsequent show-down but finds that the money he won has vanished – cue the excellent Bangaru Kodi Petta (which was remixed and re-imagined for Rajamouli’s awesome Magadheera ) with Disco Shanti running off with the betting money.

When his mother (Shubha) has a stroke, Raju leaves Vizag and the joys of waterfront employment and heads home to Hyderabad.  After arriving in the city, Raju fortuitously saves local businessman Bapineedu (Raogopal Rao), from a gang of thugs and as a reward is given the opportunity to work in his family factory. This sounds too good to be true, and of course it is, since Bapineedu and the family business are both actually run by his daughter – the boss from hell. Uma Devi has no interest in her workers except as a means to increase profit and make her the top tax payer in India (her ultimate ambition apparently).  She has the union rep firmly under her thumb to ensure that there are no strikes despite her heavy handed treatment and is prone to petulant displays of temper if her will is crossed.  I’m not sure if it’s one of her petty cruelties to make her secretary Bhavani (Vani Viswanath) wear such odd outfits to work but in her own time Bhavani looks much more appropriately dressed, so I have my suspicions, particularly when Uma Devi appears so co-ordinated.

 

Uma Devi is just as bad at dealing with people on a personal level and the thugs who attacked her father were actually sent by Ranganayakulu (Kaikala Satyanarayana) after Uma Devi turned down a marriage proposal from his son (Sharat Saxena).  Ranganayakulu and his son are the main villains of the piece and while their response to a marriage refusal may seem a little over the top, to be fair Uma Devi is annoying enough that wiping her from the face of the planet doesn’t seem all that unreasonable.

Gharana MoguduGharana MoguduGharana MoguduGharana Mogudu

Uma Devi’s plan to marry Raju also disrupts the course of true love as Raju and Bhavani embark on an office romance after they meet each other on the way to work. A bicycle ride in the rain leads to this excellent song, with Vani Viswanath keeping up with Chiranjeevi in the dance stakes despite his tendency to attack her with a bicycle – I really did want Bhavanai to dispose of Uma Devi and run away with Raju after this song!

Sadly Bhavani is much too sweet to be a murderer, so Uma Devi goes ahead with her plan and Raju ends up moving into Bapineedu’s massive mansion with his new bride.  The house is incredible, with statuary everywhere and a huge central imposing staircase, but none of that fazes Raju who continues to work on the shop floor and fight for workers’ rights.

Gharana MoguduGharana Mogudu

Now at this point you might think that Raju’s morals and basic decency might start to have an effect on Uma Devi and make her realise the error of her ways, but she’s still just as unpleasant as ever and it takes a drunken night and a lungi dance before she even begins to appear remotely bearable.  Before then there are plenty of great confrontations between Uma Devi and Raju, shifty scheming from Ranganayakulu and Uma Devi’s manager Sarangapani (Ahuti Prasad) and plenty of those fantastic costumes to enjoy.

Chiru is dashing and very much the mega star as he mixes romance, compassion, ethical principles and his stance on workers’ rights with great dancing and action sequences.  Pretty much everything gets mixed into the film and Chiranjeevi really is awesome no matter what he is doing! Nagma is delightfully vile and holds her own against Chiru keeping the focus of the film on Uma Devi and her machinations, while the plots of Ranganayakulu etc are totally overshadowed by her stormy relationship with Raju. She’s almost the classic Disney villainess and it seems obligatory to boo and hiss whenever she appears and naturally cheer for Chiranjeevi and Bhavani. Yes, even when watching on DVD in the comfort of your own living room.

Along with all the drama there is room for some comedy too – Brahmi pops up but unfortunately makes little impression without the benefit of subtitles.  However the rest of the humour is based on interactions between Raju and the other characters, and being more situational comes across better. It’s a true masala film and although the plot is ridiculous and the characterisations over the top, Gharana Mogudu is still completely entertaining.  Excellent performances, great songs and plenty of Megastar style make this definitely one to watch. 4 stars.

Chiranjeevi